The Road Within is never good. The presentation of Tourette’s syndrome may be authentic, but everything else about the movie — the emotions, the characters, the situations — rings false.

Death Wish is easily the second best “Death Wish” movie ever made, and not a distant second.

The screenplay is so cognitively impaired that the filmmakers might have been better off hacking up "Fast Times at Ridgemont High," "Dazed and Confused" and "Dude, Where's My Car?" and then sticking together random bits with masking tape. At least that would have made some sense.

First-time director Lindsey Anderson Beer and her co-adapter Jeff Buhler have some nice ideas that never quite gel.

Though far from memorable, it's a moderately charming number calculated to radiate a certain Father's Day glow. [17 Jun 1994, p.C3]

In between the scenes of folks being impaled, cut in half with swords and blasted with shotguns are moments of light comedy, but these moments don't succeed in lightening up the picture but rather make it seem as if it were made by Martians with only the vaguest notion of human sensibilities. [16 Mar 1990, p.E6]

This Hellboy has story problems, with too much exposition and not enough character development. “Stranger Things” actor David Harbour, seemingly a perfect choice for his ability to project melancholy and a luggish humor, isn’t given enough time to do either of those things.

The film is neither fish nor fowl nor some arresting new entity, but a lumpish coagulation of conflicting impulses and unrealized gestures.

A generational spectacle that's fun to witness.

The result is a worthy woman's film and Jolie's best showcase to date.

Despite its technical defects and negligent production values, The Flip Side will probably appeal to a Filipino-American audience.

McCarthy is one of our finest physical comedians. Every moment of physical comedy she performs here is cringey.

Unfortunately, the characters are so programmatic, the premise so ridiculous and the situations so far-fetched even if you accept that premise that no energy can be built, and the little that's there can't be sustained. Red Dawn is a vigorous but pointless exercise.

First Daughter can be measured in degrees of Holmes' discomfort... There's never a moment when she doesn't appear as if she'd rather be in a different movie.

An overwrought and ultimately silly thriller.

In his L.A. debut, director David Green seems to think that close-ups of Cage's big blue eyes substitute for suspense and drama. They don't. [25 May 1990, p.E5]

Badly made and poorly written, Blended is a rehash of Adam Sandler's 2011 comedy "Just Go With It," only without Jennifer Aniston and without laughs. It not only gets the big things wrong. It gets the small, easy things wrong.

A pretty lame premise for a movie.

A sour story with a repellent lead character, deadly comic schtick and tin-eared direction to produce 90 minutes of sheer, plodding mirthlessness.

Perhaps it's the soothing, storybook quality of Steve Martin's narration, or the predictable third act turn, but Love the Coopers does come together in the end.

So there’s nothing here to see, except maybe the white dress that Vergara wears in her first scene.

Represents his (Smith) first act of cinematic cynicism, his first crime against his own talent. With this action comedy, he has given us 110 worthless minutes, a bad formula movie like every other bad formula movie.

The resulting film has the integrity and the ugliness of the truth. It's not true because it's ugly; no, it's ugly because it's true.

Someday, one hopes, Mulcahy will make his masterpiece blend of action and story. Until then, Highlander 2 will have to be considered a steppingstone. [01 Nov 1991, p.D7]

As for Fraser, his clumsy humanity is endearing, but by now, assuming he has invested wisely, he should have enough money saved so as to not have to waste his talent anymore.

When a movie sets out to be awful and achieves its goal, does that make it a success?

By the end, it reveals itself as too pat, too absurd and -- as a polemic against capital punishment -- philosophically self- defeating.

It is partly a failure, but mostly it succeeds, and the film's aspiration is so enormous that that's enough for a moving experience.